BANTEAY SREI TOURS

The tenth century temple of Banteay Srei is renowned for its intricate decoration carved in pinkish sandstone that covers the walls like tapestry. This site warrants as much time as your schedule allows.

The roads have been recently repaired and it takes about 30 minutes from Siem Reap to get to the temple. To reach Banteay Srei, follow the main road north out of Siem Reap, turn right at Angkor Wat and follow the road to Srah Srang where you turn right past Pre Rup.

At the East Mebon there is a check post where you need to obtain clearnce. Turn right again at the road before the East Mebon; pass through the village of Phoum Pradak, where there is a junctions (if you continue straight, after about 5 minutes, you will reach Banteay Samre). At this point, you come to a fork; take the road on the left and follow it to Batneay Srei which you will reach shortly after crossing two rivers - on your left hand side.

Banteay Srei is an exquisite miniature; a fairy palace in the heart of an immense and mysterious forest; the very thing that Grimm delighted to imagine, and that every child's heart has yearned after, but which mature years has sadly proved too lovely to be true. And here it is, in the Cambodian forest at Banteay Srei, carved not out of the stuff that dreams are made of, but of solid sandstone.

Background of Banteay Srei

The enchanting temple of Banteay Srei is nearly everyone's favorite site. The special charm of this temple lies in its remarkable state of preservation, small size and excellence of decoration.

The unanimous opinion amongst French archaeologists who worked at Angkor is that Banteay Srei is a 'precious gem' and a 'jewel in Khmer art'. Banteay Srei, as it is known by locals, was originally called Isvarapura, according to inscriptions. It was by a Brahmin of royal descent who was spiritual teacher to Jayavarman V. Some describe it a s being closer in architecture and decoration to Indian models than any other temple at Angkor. A special feature of the exquisite decoration was the use of a hard pink sandstone (quartz arenite) where enabled the 'technique of sandalwood carving with even an Indian scent to it'.

Location: 25 kilometers (15.5 miles) north-east of East Mebon
Access: enter and leave the temple by the east entrance
Date: second half of the 10th century (967)
King: Rajendravarman II (reigned 944-968) and Jayavarman V (reigned 968-1001)
Religion: Hindu (dedicated to Shiva)
Art style: Banteay Srei

Materials and style

Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.

A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.

A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.

Many niches in the temple walls contain carvings of devatas or dvarapalas.

Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette.[16] Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei — its remarkable state of preservation and the excellence of a near perfect ornamental technique — one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone"